Like a proverbial “rock-on” sign, Mark Waters’ 2003 film, “Freaky Friday,” starring Lindsay Lohan and Jamie Lee Curtis, notably catapulted grunge beauty into the 21st century.

Lohan’s character, Anna Coleman, the moody daughter of Tess Coleman, played by Curtis, embodied a new generation of indie teenagers with calico-colored hair, chipped nail polish and lots of black eyeliner. Meanwhile, Curtis rendered the conservative ’90s mom aesthetic nonexistent as Tess, who purposefully starts with a long, dark brown pixie cut before undergoing a makeover mid-movie, switching to shorter, shaggy red hair and a pierced cartilage.

Stylists Tara Smith, Barbara Lorenz, Elena Arroy, Christina Smith, and Clinton Wayne put purpose behind the hair and makeup, recreating the looks of that time for the film, which subsequently inspired several beauty trends that later became synonymous with Y2K style. Some of these, such as Lohan’s calico hair, are making a resurgence today.

With Lohan and Curtis reprising their roles alongside returning cast members Chad Michael Murray, Mark Harmon and Haley Hudson in a new sequel titled “Freakier Friday,” scheduled to release in theaters on Aug. 8, the question is: Will this movie portray modern-day beauty trends as accurately as it did the first time around? Only time will tell.

Ahead, WWD takes a look back at the best beauty moments from the original score.

Rock glam

From the very beginning of the movie, Anna Coleman (Lohan) and her two friends, Peg and Maddie, played by Haley Hudson and Christine Vidal respectively, are established as the alternative, rock music-loving teenagers of the early 2000s. Where the modern-day teen would likely place winged eyeliner, Lohan, Hudson and Vidal were made to wear dark, dusty eye shadow as their characters at school (pictured here).

Anna, specifically, wears a heavy amount of black eyeliner in her waterline, and her hair in a tricolor highlight blend, boasting stark, bleach-blond streaks between her red and brown-colored tresses. As Peg, Hudson is seen with an inky-black, chin-length bob, no mascara and brown eye shadow. Vidal’s character, Maddie, sports wild curls dyed purple and red.

Switching bodies and makeup routines

When Tess and Anna Coleman realize they’ve switched bodies, the shock of their reality is epitomized by Curtis and Lohan’s bare countenances. Remnants of Lohan’s bottom eyeliner are all that’s on her face, smudged in her undereye as if she’d slept in it.

Curtis’ hair is styled in a long pixie cut begging to be trimmed; her nails are completely naked. Lohan’s highlights are exceptionally prominent here, showcasing her choppy, straightened layers as a disheveled adolescent.

As her mom, Anna immediately makes changes to her appearance. She goes straight to the hairdresser to get a fresh cut and color (pictured on Curtis here), opting for red-toned dye and an ultra-short pixie cut with subtle blond highlights in the front. Anna also takes Tess to get a cartilage piercing, transforming her aesthetic from simple and toned-down to boho chic.

The ’90s bad boy haircut

As the stereotypical brooding “bad boy” named Jake, Chad Michael Murray is styled with his own dirty blond bob; his ends falling just past his chin. Whether it was gel or hair oil used, Jake’s long locks were always made to look a little greasy and unwashed.

The look was indicative of men’s hair trends in the late ’90s through the early 2000s seen on the likes of Brad Pitt, Leonardo DiCaprio and Zac Efron.

The updo twist

The body-switching plotline sees Lohan’s style and Gothic beauty aesthetic mature as she plays Tess in her body. Here, she harks back to ’90s hair trends with a refined updo. The tornado twist puts her untamed, blond streaks on full display. While she still opts for a touch of bottom eyeliner, the eye makeup is pared-down in comparison to the visage Lohan sports as Anna at the beginning of the film.

To portray the character growth of Tess and Anna, Curtis and Lohan adopt their original styles in the movie’s final scenes. Here, Lohan’s twisted updo is untied to let her disheveled locks fly free, while Curtis’ makeup is somewhat muted. The character growth of Tess and Anna is portrayed through these small tweaks. They’re appearances are no longer dramatically manipulated like they were when they first “switched bodies.”